s o f i a g u b a i d u l i n a - Sikorski

s o f i a

g u b a i d u l i n a

s i k o r s k i m u s i k v e r l a g e h a m b u r gsik 4/5611

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contents

preface · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 7

awards and prizes · · · · · · · · · · · · · · · · · · · · · · · 8

vorwort · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 10

orcHestraL worKs · · · · · · · · · · · · · · · · · · · · · · · 11

worKs for cHamber orcHestra / ensembLe · 29

cHamber music · · · · · · · · · · · · · · · · · · · · · · · · · · 36

vocaL music · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 55

occasionaL worKs · · · · · · · · · · · · · · · · · · · · · · · 63

aLpHabeticaL indeX · · · · · · · · · · · · · · · · · · · · · · · 65

sikorski Musikverlage20139 haMburg

phone: (+ 49) (0)40 / 41 41 00-0 · fax: (+ 49) (0)40 / 41 41 00-41www.sikorski.de · [email protected]

28 s e p t e m b e r 2020

cover photo © viktor suslin

“To my mind the ideal relationship to tradition and to new compositional techniques is the one in which the artist has mastered both the old and the new, though in a way which makes it seem that he is taking note of neither the one nor the other. There are composers who construct their works very consciously; I am one of those who ‘cultivate’ them. And for this reason everything I have assimilated forms as it were the roots of a tree, and the work its branches and leaves. One can indeed describe them as being new, but they are leaves nonetheless, and seen in this way they are always traditional and old.Dmitri Shostakovich and Anton Webern have had the greatest influence on my work. Although my music bears no apparent traces of it, these two composers taught me the most important lesson of all: to be myself.”

Sofia Gubaidulina

„Als Ideal betrachte ich ein solches Verhältnis zur Tradition und zu neuen Kompositi-onsmitteln, bei dem der Künstler alle Mittel – sowohl neue als auch traditionelle – be-herrscht, aber so, als schenke er weder den einen noch den anderen Beachtung. Es gibt Komponisten, die ihre Werke sehr bewusst bauen, ich zähle mich dagegen zu denen, die ihre Werke eher ,züchten‘. Und darum bildet die gesamte von mir aufgenommene Welt gleichsam die Wurzeln eines Baumes und das daraus gewachsene Werk seine Zweige und Blätter. Man kann sie zwar als neu bezeichnen, aber es sind eben dennoch Blätter, und unter diesem Gesichtspunkt sind sie immer traditionell, alt.Den größten Einfluss auf meine Arbeit hatten Dmitri Schostakowitsch und Anton We-bern. Obwohl dieser Einfluss in meiner Musik scheinbar keine Spuren hinterlassen hat, ist es doch so, dass mich diese beiden Komponisten das Wichtigste gelehrt haben: ich selbst zu sein.“

Sofia Gubaidulina

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sofia gubaidulina was born in chistopol in the tatar republic in 1931. she studied the piano (with grigory kogan) and composition, and graduated from the kazan conservatory in 1954. until 1959 she studied composition at the Moscow conservatory with nikolai peiko, shostakovich’s assistant, and then did postgraduate work under vissarion shebalin. she has been active as a composer since 1963. in 1975, together with viktor suslin and vyacheslav artyomov, she founded the ‘astreya’ ensemble, which specialized in improvi-sing on rare russian, caucasian, central asian and east asian folk and ritual instruments. these hitherto unknown sounds and timbres and ways of experiencing musical time had a profound influence on her creative work. after an interval of several years, sofia gubai-dulina and viktor suslin revived the idea of the ‘astraea’ ensemble in the 1990s. in 1992 gubaidulina moved to germany, and now lives near hamburg. since the early 1980s, and especially as a result of the support and encouragement given to her by gidon kremer, her works have been performed widely in western countries. With schnittke, Denisov and silvestrov, she is now seen to be one of the leading representatives of the new Music in the former soviet union. this is reflected in numerous commissions from the bbc, the berlin Festival, the library of congress, nhk, the new York philharmonic and other insti-tutions, and in the availability of a large number of cDs. sofia gubaidulina is a member of the akademie der künste in berlin, of the Freie akademie der künste in hamburg, of the royal Music academy in stockholm, of the german order ‘pour le mérite’ and honorary Member of the american academy of arts and letters. she was honoured with numerous awards and prizes. sofia gubaidulina was nominated ‘capell-compositrice’ of sächsische staatskapelle Dresden for the concert seasons 2014/2015 and 2016/2017.

although sofia gubaidulina’s education and background are russian, it is important to bear in mind the significance of her tatar origins. however, she is not a romantic nationa-list. her compositional mastery enables her to make use of contemporary techniques evol-ved by the european and american avant-garde, though in a wholly individual manner. Furthermore, oriental philosophies have had an influence on certain aspects of her music.

a striking feature of gubaidulina’s work is the almost total absence of ‘absolute’ music. the vast majority of her pieces have an extra-musical dimension, e.g. a poem, either set to music or hidden between the lines, a ritual, or some kind of instrumental ‘action’. some of her compositions demonstrate her preoccupation with mystical ideas and christian symbolism. she has wide-ranging literary interests, and has set to music poems by ancient egyptian and persian writers and contemporary lyric poetry by Marina tsvetayeva, for whom she feels a deep spiritual affinity.

preface

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awards and prizes

1974 commendation by the rome international composer’s competition

1987 prix de Monaco

1989 koussevitzky international record awardfor the cD recording of her violin concerto ‘offertorium’ (dg 47336-2)

1991 premio Franco abbiato

1991 heidelberger künstlerinnenpreis

1992 russian state prize

1994 koussevitzky international record awardfor her symphony ‘stimmen ... verstummen ...’ (chandos 9183)

1995 ludwig spohr prize of the city of brunswick

1997 cultural prize of the city of pinneberg District

1998 praemium imperiale, tokyo

1999 prize of the léonie sonning Music Foundation, copenhagen

1999 prize of the german ‘bible and culture’ Foundation

2000 stockholm concert hall Foundation’s honorary Medal in gold

2001 goethe Medal of the city of Weimar

2001 honorary professor of the kazan conservatory

2001 ‘silenzio’ prize, Moscow

2002 polar Music prize, stockholm

2002 the great Distinguished service cross of Meritof the Federal republic of germany

2003 living composer prize in the cannes classical awards

2005 european culture prize

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2005 honorary professor of the conservatories of beijing and tianjin

2006 ‘personality of the Year 2006’. title adjudicated by the Moscow Music Magazine

2007 ‘triumph’ cultural prize, Moscow

2007 city of hamburg bach prize

2009 the great Distinguished service cross of Merit with starof the Federal republic of germany

2009 premio nuovi eventi Musicali, Florence

2009 european church Music prize, schwäbisch gmünd

2009 honorary Doctorate of the Yale university

2010 aleksandr Men prize, academy of the Diocese of rottenburg-stuttgart

2011 honorary Member of the iscM

2011 honorary Doctorate of the chicago university

2012 honorary professor of the kiev Music academy

2013 ‘golden lion’ of the venice biennale

2013 Medal of the hamburg Free academy of arts

2014 prix de l’académie royale de belgique

2016 Member of the accademia nazionale di santa cecilia

2017 german Music authors’ prize awarded by geMa

2017 honorary Doctorate of the new england conservatory of Music, boston

2017 Frontiers of knowledge award of the bbva Foundation

2017 shostakovich prize of the international shostakovich Days gohrisch

2019 royal philharmonic society gold Medal

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vorwort

sofia gubaidulina wurde 1931 in tschistopol (tatarische republik) geboren. 1954 beendete sie ihre ausbildung am konservatorium von kasan in den Fächern klavier (bei grigori kogan) und komposition und setzte dann bis 1959 ihr kompositionsstudium bei niko-lai pejko, einem assistenten von Dmitri schostakowitsch, am Moskauer konservatorium fort. anschließend erfolgte eine aspirantur bei Wissarion schebalin. seit 1963 ist sofia gubaidulina als freischaffende komponistin tätig. 1975 gründete sie zusammen mit den komponisten vyacheslav artyomov und viktor suslin die gruppe ,astraea‘, in der man auf seltenen russischen, kaukasischen sowie mittel- und ostasiatischen volks- und ritu-alinstrumenten improvisierte und zu bisher unbekannten klangerlebnissen und neuen erfahrungen musikalischer Zeit gelangte, was ihr schaffen wesentlich beeinflusste. nach einer mehrjährigen unterbrechung ließen sofia gubaidulina und viktor suslin die idee der gruppe ,astraea in den neunziger Jahren neu aufleben. seit beginn der achtziger Jahre gelangten ihre Werke – insbesondere dank des tatkräftigen einsatzes von gidon kre-mer – rasch in die westlichen konzertprogramme, so dass die komponistin heute neben schnittke, Denissow und silwestrow zu den führenden vertretern der neuen Musik aus der ehemaligen sowjetunion gerechnet wird. Dies bekunden die vielen aufträge nam-hafter institutionen (darunter bbc, berliner Festwochen, library of congress, nhk, the new York philharmonic) sowie die stattliche Zahl der cD-einspielungen. sofia gubaidu-lina, die seit 1992 in der nähe von hamburg lebt, ist Mitglied der akademie der künste in berlin, der Freien akademie der künste in hamburg, der königlichen Musikakademie stockholm sowie ehrenmitglied der american academy of arts and letters. im Jahre 1999 wurde sie in den orden ,pour le Mérite‘ aufgenommen. sie rehielt zahlreiche preise und auszeichnungen. sowohl für die saison 2014/2015 als auch für die saison 2016/2017 wurde sofia gubaidulina zur capell-compositrice der sächsischen staatskapelle Dresden ge-wählt.Wenn sofia gubaidulina auch auf grund ihrer erziehung dem russischen kulturkreis zu-zurechnen ist, so spielt doch ihre tatarische abstammung in ihrem schaffen eine nicht unbedeutende rolle. sie ist dabei aber keine nationalkomponistin nach romantischem verständnis, sondern eine komponistin unserer Zeit, die alle techniken ihres handwerks beherrscht und sich erkenntnisse der europäischen und amerikanischen avantgarde für ihre Zwecke nutzbar macht. auch elemente östlicher philosophie sind in ihre Musik ein-geflossen.typisch für gubaidulinas schaffen ist das nahezu vollständige Fehlen von absoluter Musik. in ihren Werken gibt es fast immer etwas, das über das rein Musikalische hinausgeht. Dies kann ein dichterischer text sein, der Musik unterlegt oder zwischen den Zeilen verborgen, ein ritual oder irgendeine instrumentale ,aktion‘. einige ihrer partituren zeugen von ihrer beschäftigung mit mystischem gedankengut und christlicher symbolik. ihr literarisches interesse ist sehr vielseitig. so vertonte sie altägyptische und persische Dichter, aber auch lyrik des 20. Jahrhunderts (z.b. verse von Marina Zwetajewa, zu der sie eine tiefe geistige verwandtschaft empfindet).

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pHaceLia (Die phaZelie) 1956vocal cycle for soprano and orchestra on texts by Mikhail prishvin (in russian)

1. the Desert 2. little blue Feathers 3. the aeolian harp 4. the First Flower 5. Flowering of the Wild rose 6. river beneath a clouded sky

3.2.2.2 – 4.2.2.0 – timp. 3 perc (tgl, wood bl, susp cym, glsp, xyl). harp. strings

Duration: 14’

First performance: 1957, Moscowtamara petrova (soprano) – emin khachaturyan (conductor)

© sikorski, hamburg

niGHt in mempHis (nacht in MeMphis) 1968/1988/1992cantata for mezzo-soprano, male choir and chamber orchestra on ancient egyptian texts (in russian, russian versions by anna akhmatova and vera potapova)

1. lento 2. con moto eguale 3. allegro non tanto 4. pensieroso 5. caminando 6. presto con spirito 7. tranquillo

1.0.0.0 – 0.1.0.0 – 3 perc (timp, cym, tubular bells, tam-t, vibr, marimba). mandoline. harp. piano. el org. strings (1/1/1/1/1) – male choir on tape or live from the rear end of the concert hall

Duration: 26’

First performance of the first version: 13 May 1971, Zagrebeva novsak-houska (soprano) – male choir on tape – symphony orchestra of the kroacian radio and tv – igor gjadov (conductor)

First performance of the second version: 1988, rostov/DonYelena Dolgova (mezzo-soprano) – rostov choir and symphony orchestra – Yuri nikolayevsky (conductor)

First performance of the third (final) version: 16 July 1993, rome (romaeuropa Festival 1993)patricia chiti (mezzo-soprano) – choir and orchestra of santa cecilia, rome – armando kriger (conductor)

© sikorski, hamburg · score: sik 71064

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fairYtaLe poem (MÄrchenpoeM) 1971for symphony orchestraCommissioned by Moscow Radio for a children’s program (with narrator) featuring the Czech fairy-tale ‘The Little Chalk’

3.0.3(bass cl).0 – 0.0.0.0 – 2 perc (susp cym, vibr, marimba). harp. piano. strings (10/8/6/4/2)

Duration: 10’

radio recording: 1971, MoscowMoscow radio symphony orchestra – Maxim shostakovich (conductor)

First performance: 5 november 1992, hannoverradio-philharmonie hannover – bernhard klee (conductor)

© sikorski, hamburg · score: sovetsky kompozitor, Moscow

stufen (steps) 1972/1986/1992for symphony orchestra and 7 reciters (live or from performance cD)text by rainer Maria rilke (from the ‘Marienleben’ cycle; in german or russian)Commended at the Seventh International Composer’s Competition, Rome, 1974

3(picc).3(cor anglais).3(bass cl).3(db bn) – 6.4.4.1 – 5 perc (i: timp, 4 susp cym, large tam-t – ii: tgl, 5 tom-t, vibr – iii: wood bl, glsp, marimba – iv: tgl, tem-ple bl, side dr, susp cym, tubular bells – v: 5 bongos, side dr, medium tam-t).harp. cel/hpd. piano. strings (16/14/12/10/8)

Duration: 20’

First performance of the first version (1972): 19 December 1990, berlinradio symphony orchestra berlin – gerd albrecht (conductor) – gerd albrecht and sofia gubaidulina (speakers)

First performance of the second version (1986): 22 June 1989, bad kissingenprague symphony orchestra – Jiri belohlávek, conductor

First performance of the third (final) version (1992): 25 March 1993, stockholmroyal stockholm philharmonic orchestra – gennady rozhdestvensky (conductor)


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Hour of tHe souL (stunDe Der seele) 1974poem for large wind orchestra and mezzo-soprano (contralto)text by Marina tsvetayeva (‘hour of the soul‘; in russian – german version by Jürgen köchel)

5(3 picc,2 alto fl).3.19(Eb cl, bass cl, s sax, alto sax, 2 ten sax, bar sax).3 – 6.ten sax horn.bar sax horn.4.4 cornets.4.3 – 5 perc (timp, 5 temple bl, tambourine, 5 bongos, 5 tom-t, side dr, bass dr, 5 susp cym, tam-t, tubular bells, glsp, vibr, marimba). 2 harps. cel/piano

Duration: 21’

First performance: 11 september 2004, bolzano (bozen)nathalie stutzmann (mezzo-soprano) – ‘windkraft tirol’ – kasper de roo (conductor)


► see also: orchestral Works: h o u r o f t h e s o u l [1976]

Laudatio pacis 1975oratorio in nine movements for soprano, alto, tenor, bass, speaker, 3 mixed choirs and large orchestra (without strings) texts by Johannes amos comenius (in latin)(Joint composition with Marek kopelent and paul-heinz Dittrich – numbers 2, 4 and 8 by sofia gubaidulina)Dedicated to unesco

6(picc/alto fl).4 (cor anglais).4 (bass cl).4 (db bn) – 4.4.4.1 – 3 perc (i: 3 timp [a-f/a-f/e-d], small tgl, crot, 4 wood bl, tambourine, 4 bongos, 4 susp cym [small/medium/large/very large] – ii: medium tgl, 4 wood bl, small tambou-rine, 5 tom-t, bass dr, very large tam-t, marimba – iii:3 timp [a-f/e-d/e-d], large tgl, 5 temple bl, 5 tom-t, bass dr, 3 gongs [s/alto/bass]/glsp). large mixed choir (at least 80 singers). small choir (3s/3a/3t/3b)

Duration: 40’

First performance: 3 september 1993, berlinchoir and symphony orchestra of Mitteldeutscher rundfunk leipzig – Daniel na-zareth (conductor)

© bärenreiter, kassel

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revue musicfor sYmpHonY orcHestra and jazz band 1976/1995/2002text by afanasy Fet (in russian)

symphony orchestra: 3.0.3.0 – 4.3.3.1 – 3 perc (i: timp, small valday bells, tam-t – ii: tgl, 5 susp cym – iii: bass dr, tubular bells, xyl). piano. strings – Jazz band: alto sax. ten sax. bar sax – 2.4.4.0 – 2 perc (5 temple bl, 3 tom-t, jazz dr, hi hat). elgtr. bassgtr. 2 harps. el org – 3 sopranos (with amplification and echo effect) – tape (with text by a. Fet)

Duration: 10’

First performance: 16 January 1978, Moscow (as c o n c e r t o f o r s y m p h o n y o r c h e s t r a a n d J a z z b a n d)Moscow radio light orchestra – alexander Mikhailov (conductor)

© sikorski, hamburg · score: sik 846 · sovetsky kompozitor, Moscow

Hour of tHe souL (stunDe Der seele) 1976(percussio di peKarsKi )Music for percussion, mezzo-soprano and large orchestratext by Marina tsvetayeva (“hour of the soul”; in russian – german version by Jürgen köchel)Dedicated to Mark Pekarsky

3 (2picc,alto fl).3.3(Eb cl,ten sax).2 – 4.4.4.1 – 4 perc (i: timp, tom-t [low], tubu-lar bells, xyl – ii: 5 temple bl, 5 cym – iii: timp, 5 bongos, side dr, bass dr, glsp – iv: 5 tom-t, side dr, bass dr, tam-t). 2 harps. cel/piano. strings (16/14/12/10/8)solo perc: timp, 5 bongos, conga, 5 temple bl, 5 tom-t, bass dr, 5 cym, 3 chi-neses cym (with db bow), chang (oriental cimbalom with pedal, amplified), hungarian cimbalom, piano (amplified)

Duration: 30’

First performance: 22 october 1979, parisMarie-louise gilles (mezzo-soprano) – christoph caskel (percussion) – cologne radio symphony orchestra – antoni Wit (conductor)


► see: orchestral works: h o u r o f t h e s o u l [1974]

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offertorium 1980/1982/1986concerto for violin and orchestra no. 1Dedicated to Gidon Kremer

3 (picc).2.3 (Eb cl).2 – 3.3.3.1 – 5 perc (i: timp, crot, guiro, wood bl, bass dr, tubular bells – ii: tgl, 3 susp cym, glsp – iii: tgl, 5 bongos, tam-t, glsp, xyl – iv: tgl, crot, wood bl, 5 bongos, 5 tom-t, bass dr, whip, glsp, xyl, marimba – v: tgl, temple bl, wood bl, side dr, bass dr, tam-t, tubular bells, glsp, vibr, marimba). 2 harps. cel/piano. strings (16/14/12/10/8)

Duration of the final version: 38’

First performance of the original version: 30 May 1981, viennagidon kremer (violin) – orF symphony orchestra – leif segerstam (conductor)

First performance of the revised version: 24 september 1982, berlingidon kremer (violin) – Junge Deutsche philharmonie – charles Dutoit (conductor)

First performance of the final version: 2 november 1986, londongidon kremer (violin) – bbc symphony orchestra – gennady rozhdestvensky (conductor)

© sikorski, hamburg · score: sik 1862 · solo part: sik 71058

stimmen . . . verstummen . . . 1986symphony in twelve movementsDedicated to Gennady RozhdestvenskyCommissioned by Berliner Festspiele, 1986

4(picc,alto fl).2.4(Eb cl,bass cl,alto sax).4 (db bn) – 4.3.4.1 – 4 perc (i: small timp, small tom-t, side dr, 3 susp cym, medium tam-t, tubular bells, glsp, xyl, vibr, marimba – ii: large timp, medium tambourine, medium tom-t, 3 susp cym, small tam-t, tubular bells, glsp, vibr, marimba – iii: medium and large timp, side dr, 3 susp cym, large tam-t, tubular bells, glsp, vibr, marimba – iv: tgl, large tambourine, side dr, bass dr). 2 harps. cel. org. strings (18/12/12/12/6)

Duration: 42’

First performance: 4 september 1986, berlin (West)Moscow state symphony orchestra – gennady rozhdestvensky (conductor)


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pro et contra 1989for large orchestraCommissioned by The Louisville Symphony Orchestra

4 (picc,alto fl).2.4 (Eb cl,bass cl).3 (db bn) – 4.3.3.1 – 6 perc (i: timp, tam-t – ii: medium tom-t, medium and large bass dr, vibr – iii: large tom-t, large bass dr, 2 cym, 5 susp cym, tam-t – iv: very large tom-t, very large bass dr, glsp – v: tam-t, tubular bells, marimba – vi: crot, cym [with db bow], xyl, marimba). 2 harps. cel/hpd (amplified). piano. strings (16/14/12/10/8)

Duration: 42’

First performance: 3 november 1989, louisvillethe louisville symphony orchestra – lawrence leighton smith (conductor)

© g. schirmer, new York · sikorski, hamburg for D, ch, e, gr, il, is, nl, p, n,s, Dk, tr

aLLeLuja 1990for mixed choir, boy soprano, organ and large orchestra (colour organ ad lib.)texts from the russian orthodox liturgy (in russian)Commissioned by Berliner Festspiele, 1990

4 (picc,alto fl).2.4 (Eb cl,bass cl).3 (db bn) – 4.3.3.1 – 6 perc (i: timp, susp cym – ii: susp cym – iii: cym, susp cym, marimba – iv: medium tom-t, medi-um bass dr, tam-t, vibr – v: large tom-t, large bass dr, tubular bells – vi: very large tom-t, very large bass dr). 2 harps. cel/hpd (amplified). piano. org. strings (16/16/12/12/8) – colour organ ad lib. (4 players)

Duration: 32’

First performance: 11 september 1990, berlinphilipp cieslewicz (boy soprano) – thomas trotter (organ) – leipzig radio choir – berlin philharmonic orchestra – simon rattle (conductor)


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aus dem stundenbucH 1991for violoncello, orchestra, male choir and female speakertext by rainer Maria rilke (in german)Dedicated to Vladimir TonkhaCommissioned by Helsinki Festival

4 (picc/alto fl).2.4 (Eb cl/bass cl).3 (db bn) – 4.2.4.2 – 5 perc (i: timp, vibr – ii: timp, crot, medium bass dr, 8 Javanese gongs, vibr – iii: timp, crot, rattle, large bass dr, glsp – iv: tgl, very large bass dr, 5 susp cym, vibr – v: very large bass dr, 3 tam-t, tubular bells). zither (amplified ad lib.). el gtr. bass gtr. 2 harps. cel. piano. hpd (amplified). strings (18/12/12/10/8)

Duration: 53’

First performance: 27 august 1991, helsinkivladimir tonkha (violoncello) – estonian Male choir – heljä angervo (speaker) – helsinki philharmonic orchestra – eri klas (conductor)

© Fazer Music, espoo · sikorski, hamburg for D, ch, e, gr, il, is, nl, p, n, s,Dk, tr) · score: sik 71049

and: tHe festivities at tHeir HeiGHt 1993(unD: Das Fest ist in volleM gang) for violoncello and orchestraDedicated to David GeringasCommissioned by Festival de Música de Canarias

3 (picc).1.3 (bass cl).2 (db bn) – 4.3.1.2 ten-bass tbn.1–5 perc (i: timp, 2 tom-t, glsp – ii: timp, crot, medium bass dr, vibr – iii: flex [with db bow], 5 tom-t, bass dr, tubular bells, xyl – iv: tgl, 8 plate bells, marimba – v: 4 susp cym, tam-t). 2 harps. cel (amplified). piano. hpd (amplified). strings (15/15/12/10/8)

Duration: 30’

First performance: 1 February 1994, las palmas, gran canariaDavid geringas (violoncello) – Finnish radio symphony orchestra helsinki – Jukka-pekka saraste (conductor)


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zeitGestaLten (Figures oF tiMe) 1994for symphony orchestraDedicated to Simon RattleCommissioned by the City of Birmingham Symphony Orchestra

3 (picc, alto fl).2.3 (bass cl).3 (db bn) – 6.3.2.ten-basstbn.dbtbn.1.dbtuba – 6 perc (i: timp, crot, flex [with db bow], 5 tom-t, cym, very large tam-t, tubular bells, glsp, vibr [with db bow] – ii: crot, claves, flex [with db bow], cym, susp cym, large tam-t, glsp, vibr [with db bow], marimba – iii: claves, flex [with db bow], cym, glsp, vibr [with db bow], marimba – iv: timp, claves, flex, large brass whisper chimes, side dr, bass dr, cym, susp cym, tam-t, tubular bells, glsp –v: crot, claves, cym, susp cym, medium tam-t, hand bells, glsp – vi: crot, large brass whisper chimes, tam-t, 3 plate bells). 2 bassgtr. 2 harps. cel. hpd (amplified). bayan. strings (18/12/12/10/8)

Duration: 25’

First performance: 29 november 1994, birminghamcity of birmingham symphony orchestra – simon rattle (conductor)

© boosey & hawkes, london

music for fLute, strinGs and percussion 1994Dedicated to Pierre-Yves ArtaudCommissioned by Radio France for the music festival ‘Présences 95’

flute (picc/alto fl/bass fl). 3 perc (i: timp, rattle, large tam-t [amplified] – ii: whi-sper chimes, 2 susp cym [amplified], large tam-t [amplified] – iii: tgl, 2 susp cym [amplified], medium tam-t [amplified]). two groups of strings (15/0/6/5/4 each), the second group is tuned a quarter-tone lower

Duration: 33’

First performance: 18 February 1995, paris (radio France)pierre-Yves artaud (flute) – orchestre national de France – charles Dutoit (con-ductor)


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concerto for vioLa and orcHestra 1996

5 (2 picc, alto fl, bass fl).2.2.2 – 3 (3 Wagner tubas [2 ten/bass]).3.3[2 ten-bass trbn/bass trbn].1 – 5 perc (timp, tgl, finger-cymbals, bass dr, tam-t, susp cym, ant. cym, tubular bells, glsp, xyl, vibr, marimba). cel/piano. hpd. string quartet. strings (16/14/12/10/8)

Duration: 40’

First performance: 17 april 1997, chicagoYuri bashmet (viola) – chicago symphony orchestra – kent nagano (conductor)

© g. schirmer, new York · sikorski, hamburg for D, ch, e, gr, il, is, nl, p, n,s, Dk, tr

in 2015 the composer revised the solo part.

in tHe sHadow of tHe tree ( iM schatten Des bauMes) 1998for koto*, bass koto*, zheng* and orchestraDedicated to Kazue SawaiCommissioned by NHK Symphony Orchestra

2(picc, bass flute).1.3(bass cl).2 – 0.2.3.0 – 6 perc (timp, tgl, crot, side dr, cym, tam-t, gong, bar chimes, tubular bells, plate bells, glsp, vibr, marimba). cel. hpd*. strings (2 groups: 18/0/6/6/3 and 0/12/6/6/3. the second group is scor-dated a quarter tone lower.)

*(amplified)

Duration: 31’

First performance: 14 april 1999, tokyokazue sawai, koto/bass koto/zheng – nhk symphony orchestra – charles Dutoit (conductor)


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two patHs (dedicated to maria and martHa ) 1998(ZWei Wege [Maria unD Martha geWiDMet])for two solo violas and orchestraCommissioned by The New York Philharmonic

4(picc, bass flute).2.4(Eb cl, bass cl).3(db bn) – 4.3.3(ten trbn, ten-bass trbn, db trbn).1 – 6 perc (timp, crot, bar chimes, side drum, gongs, tubular bells, plate bells, tam-t, glsp, vibr, marimba). cel. piano. strings (16/14/12/10/8)

Duration: 24’

First performance: 29. april 1999, new Yorkcynthia phelps and rebecca Young (violas) – new York philharmonic – kurt Ma-sur (conductor)

© g. schirmer, new York · sikorski, hamburg for D, ch, e, gr, il, is, nl, p, n,s, Dk, tr · score: sik 6907

there is an arrangement of tw o p a t h s for two solo violoncelli and orchestra by Johannes X. schachtner from 2014. this version was authorized by the composer and performed for the first time on 26 May 2014 in seoul by Julius and hyun-Jung berger (violoncelli) and the corean chamber orchestra under the baton of peter hirsch.

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st. joHn passion ( Johannes-passion) 2000for soprano, tenor, baritone, bass, two mixed choirs, organ and large orchestra (in russian)First part of the two-work cycle ‘passion and ressurection of Jesus christ according to st. John‘ [passion und auferstehung Jesu christi nach Johannes], whose second part is s t . J o h n e a s t e r (for details see next page). although s t . J o h n p a s s i o n may be performed separately, s t . J o h n e a s t e r is only to be per-formed along with the first part of the cycle.Commissioned by the Internationale Bachakademie Stuttgart in commemoration of Johann Se-bastian Bach’s 250th year of death 1. the Word 2. the Washing of Feet 3. the commandment of Faith 4. the commandment of love 5. hope 6. liturgy in heaven 7. betrayal, Denial, Flagellation, condemnation 8. Way to golgatha 9. a Woman clothed with the sun 10. entombment 11. the seven bowls of Wrath

4(2 picc).1.4(Eb cl, bass cl).1 – 3(3 Wagner tubas).3(bass trpt).3.1 – 6 perc (timp, crot, bar chimes, side dr, 3 bass dr, cym, susp. cym, 5 gongs, 2 wind gongs, 2 tam-t, 2 sets of tubular bells, plate bells, glsp, vibr, marimba). piano. synthesizer. strings (16/14/12/10/8)

Duration: 90’

First performance: 1 september 2000, stuttgartnatalia korneeva (soprano) – viktor lutsiuk (tenor) – Fyodor Mozhayev (baritone) – gennady bezzubenkov (bass) – st. petersburg chamber choir – choir of the Ma-riinsky theatre – orchestra of the Mariinsky theatre – valery gergiev (conductor)

© sikorski, hamburg · piano score: sik 8692 · score: sik 71025

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st. joHn easter ( Johannes-ostern) 2001for soprano, tenor, baritone, bass, two mixed choirs, organ and large orchestra (in russian)second part of the two-work cycle ‘passion and resurrection of Jesus christ accor-ding to st. John‘ [passion und auferstehung Jesu christi nach Johannes]. the first part is s t . J o h n p a s s i o n (details see previous page). s t . J o h n e a s t e r is only to be performed as part of the entire cycle.Commissioned by Norddeutscher Rundfunk, Hamburg 1. easter Morning 2. Maria Magdalena 3. First appearance of the risen christ to his Disciples: “receive the holy spirit” 4. “i do not believe” 5. the rider on the White horse 6. second appearance of christ to his Disciples: “and doubt no longer” 7. intermedium 8. “i am the living bread” 9. “the Darkness vanishes” 10. third appearance of christ to his Disciples: “Farewell” 11. Judgement 12. “and i saw a new heaven and a new earth”

4(2 picc, alto fl, bass fl).1.4(Eb cl, bass cl).1 – 3(3 Wagner tubas).4(picc, bass trpt).3(ten, ten-bass, db).1 – 8 perc (3 timp, crot [with bow], bar chimes, side dr, 3 bass dr, 5 Javanese gongs, 2 tam-t, cym, 5 susp. cym, 2 sets of tubular bells, 7 plate bells, glsp, vibr, marimba, waterphone). hpd (amplified) or syn-thesizer. piano (anplified). strings (16/14/12/10/8)

Duration: 50’

First performance: 16 March 2002, hamburgnatalia korneeva (soprano) – viktor lutsiuk (tenor) – Fyodor Mozhayev (baritone) – gennady bezzubenkov (bass) – choir of the Mariinsky theatre – choir of nDr – orchestra of nDr – valery gergiev (conductor)

© sikorski, hamburg · score: sik 71087 · piano score: sik 8693

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tHe rider on tHe wHite Horse 2002(Der reiter auF DeM Weissen pFerD)for large orchestra and organCommissioned by the Eduard van Beinum Stichting, Hilversum, by request of the Rotterdam Philharmonic Gergiev FestivalDedicated to Valery Gergiev on the occasion of his 50th birthday

3(2 picc).1.4(Eb clar, bass clar).1 – 3(3 Wagner tubas).4(picc, bass trp).3.db tuba – 8 perc (3 timp, bar chimes, 13 crot [with bow], waterphone [with bow], side dr, 3 bass dr, cym, 5 susp. cym, 2 tam-t, bells, plate bells, vibr). piano [ampli-fied]. hpd [amplified]. strings (16/14/12/10/8)

Duration: 13’

First performance: 15 september 2002, rotterdamrotterdam philharmonic orchestra – valery gergiev (conductor)


tHe LiGHt of tHe end (Das licht Des enDes) 2003/2005for large orchestraCommissioned by the Boston Symphony Orchestra

4(picc, alto fl).3(cor anglais, heckelphone).3(bass cl).3(db bn) – 4.3.3(ten-bass trbn, db trbn).1 – 5 perc ( timp, crot, bar chimes, bass dr, cym, 5 susp. cym, ant. cym, tam-t, 2 sets of tubular bells, plate bells, vibr, marimba). harp. strings (20/18/14/14/12)

Duration: 25’

First performance: 17 april 2003, bostonboston symphony orchestra – kurt Masur (conductor)

First performance of the final version: 20 august 2005, londonlondon philharmonic orchestra – kurt Masur (conductor)

© g. schirmer, new York · sikorski, hamburg for D, ch, e, gr, il, is, nl, p, ns, Dk, tr

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under tHe siGn of scorpio ( iM Zeichen Des skorpions) 2003variations on six hexachords for bayan and large orchestraCo-Commissioned by the Swedish Radio Symphony Orchestra and the Rotterdams Philharmo-nisch OrkestDedicated to Friedrich Lips

4(picc, alto fl).3.4(Eb cl, bass cl).3(db bn) – 4.3.3(ten trbn, ten-bass trbn, db trbn).1 – 6 perc (2 timp, crot, bar chimes, 5 susp. cym, 13 gongs, tam-t, tubular bells, plate bells, glsp, vibr, marimba). 2 harps. cel. strings (16/14/12/10/8)

Duration: 27’

First performance: 10 october 2003, stockholmFriedrich lips (bayan) – swedish symphonic radio orchestra – Manfred honeck (conductor)


For c a d e n z a, an indipendant solo work for bayan developed on the basis of the cadenza from u n d e r t h e s i g n o f s c o r p i o, ► see: chaMber Works Without percussion

. . . tHe deceitfuL face of Hope and of despair 2005concerto for flute and large orchestraCommissioned by Sharon Bezaly and Robert von BahrDedicated to Sharon Bezaly

3(2picc).2.3(bass cl).3(db bn) – 4.3.4(ten trbn, 2 ten-bass trbn, db trbn). perc (timp, tgl, crot, bar chimes, side dr, 3 bass dr, cym, 3 susp. cym, tam-t, tubular bells, glsp, xyl, vibr, marimba). 2 harps. cel. piano. strings (16/14/12/10/8)

Duration: 26’

First performance: 26 May 2005, gothenburgsharon bezaly (flute) – göteborg symphony orchestra – Mario venzago (conductor)


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feast durinG a pLaGue (Das gastMahl WÄhrenD Der pest) 2005for large orchestraCommissioned by The Philadelphia Symphony Orchestra and The Pittsburgh Symphony OrchestraDedicated to Simon Rattle

4(2picc, alto flute).4(cor anglais).4(Eb clar, bass clar).4(db bn) – 6.4.3(2ten-bass trbn).1 – 4 perc (timp, tgl, bar chimes, side dr, 3 bass dr, 5 cym, 5 susp. cym, tam-t, bells, plate bells, glsp, vibr, marimba). 2 harps. piano/hpd. strings – tape

Duration: 26’

First performance: 16 February 2006, philadelphiathe philadelphia symphony orchestra – simon rattle (conductor)

© g. schirmer, new York · sikorski, hamburg for D, ch, e, gr, il, is, nl, p, n,s, Dk, tr · score: sik 71029

in tempus praesens 2007concerto for violin and orchestra no. 2Commissioned by Paul Sacher StiftungDedicated to Anne-Sophie Mutter

4(picc).3.4(bass clar).4(db bn) – 3.3.4(ten-bass trbn).3Wagner tubas,1 – 6 perc (timp, tgl, crot, bar chimes, tom-t, side dr, bass dr, cym, tam-t, bells, glsp, xyl, vibr, marimba). 2 harps. cel. hpd (amplified). piano. strings (0/0/15/12/9)

Duration: 33’

First performance: 30 august 2007, lucerneanne-sophie Mutter (violin) – berlin philharmonic orchestra – simon rattle (con-ductor)

© sikorski, hamburg · score: sik 8582 · piano score: sik 8583

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GLorious percussion 2008concerto for percussion ensemble and orchestraCommissioned by Anders Loguin, Gothenburg Symphony Orchestra, Dresden Philharmonic, Lu-cerne Symphony Orchestra and Bergen Philharmonic Orchestra

3(picc).1.4(eb clar, bass clar).0 – 2(2 Wagner tubas [B, F].2.4(ten-bass trbn).2 – perc (timp, whip, wood bl vi, wood bl vii, side dr, bass dr, cym, susp.cym, tam-t). 2 harps. cel. strings

5 solo percussionists (i: crot i, glass chimes i, bamboo chimes i, cabaza, wood bl i, darabuca, hand dr i, bass dr, xyl i, marimba i – ii: crot i, glass chimes ii, bamboo chimes ii, wood bl ii, flex i [with bow], hand dr ii, bass dr ii, vibr ii, marimba ii – iii: medium tgl, flex ii, wood bl iii, hand dr iii, side dr i, bass dr iii, xyl ii, vibr i – iv: small tgl, bamboo chimes iii, wood bl iv, tamb, hand dr iv, side dr ii, bass dr iv, susp.cym i, Javanese gongs i, xyl ii, vibr i [with bow] – v: large tgl, crot ii [with bow], agogo, wood bl v, hand dr v, side dr iii, bass dr v, susp.cym, Javanese gongs ii, vibr ii [with bow])

Duration: 38’

First performance: 18 september 2008, gothenburgensemble ‘glorious percussion’ – gothenburg symphony orchestra – gustavo Dudamel (conductor)


o Komm, HeiLiGer Geist 2015for soprano, bass, mixed choir and orchestratext: medieval prayers (in german)Commissioned by Staatskapelle Dresden and Frauenkirche Dresden FoundationDedicated to Andres Mustonen

3(picc).1.3(bass clar).2(db bn) – 4.4Wagner tubas.3.3(2tenor-bass-trbn).1 – 5 perc (5 timp, crot, bar chimes, side dr, 2 bass dr, 5 susp.cym, 2 tam-t, Javanese gongs. glsp. marimba). strings

Duration: 12’

First performance: 18 april 2015, Dresdensophie karthäuser (soprano) – georg Zeppenfeld (bass) – MDr rundfunkchor – staatskapelle Dresden – andres Mustonen (conductor)


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über Liebe und Hass (on love anD hatreD) for soprano, tenor, baritone, bass, two mixed choirs and orchestratexts: psalms and prayers (in german, russian, italian and French)Commissioned by Staatskapelle Dresden, the Frauenkirche Dresden Foundation, the Rotterdam Philharmonic Orchestra and the Gergiev Festival RotterdamDedicated to Andres Mustonen · ve r s i o n i n 9 m o v e m e n t s 2015/2016

1. als Jesus für uns starb 2. Deinen Frieden, herr 3. liebe zu gott 4. bitterer hass 5. gebet um erlösung 6. aus dem hohelied 7. Der Zorn gottes 8. einfaches gebet 9. o komm, heiliger geist

3(picc).2.3(bass clar).3(db bn) – 4.4Wagner tubas.3.4.1 – 5 perc (timp, tgl, crot, bar chimes, side dr, tenor dr, 2 bass dr, cym, susp.cym, tubular bells, plate bells, 2 gongs, 8 Javanese gongs, tam-t, glsp, vibr, marimba). piano/cel*. strings

Duration: 50’

First performance: 14 october 2016, tallinnestonian philharmonic chamber choir – estonian national symphony orchestra –andres Mustonen (conductor)

· ve r s i o n i n 1 5 m o v e m e n t s 2016/2018

1. als Jesus für uns starb 2. Deinen Frieden, herr 3. nichts kann mich trennen von Deiner liebe 4. ich leide unter meinem unglück 5. liebe zu gott 6. Meine seele liegt im staub 7. gebet für alle 8. o gott, schenk uns die reinheit des herzens und dieklarheit des geistes 9. bitterer hass 10. steh ab vom Zorn 11. gebet um erlösung 12. aus dem hohelied 13. Der Zorn gottes 14. einfaches gebet 15. o komm, heiliger geist

Duration: 78’

*celesta is only required for the 2018 version.


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tripLe concerto (tripelkonZert) 2017for violin, violoncello, bayan and orchestraCo-commissioned by Boston Symphony Orchestra, New York Carnegie Hall, NDR Radiophilhar-monie Hannover and Tonhalle-Orchester ZürichDedicated to Elsbeth Moser

4(picc).3.3(bass clar).4(db bn) – 6.4(picc).3.2(db tuba) – 4 perc (timp, tgl, 5 tom-t, tenor dr, side dr, bass dr, 5 cym, tam-t). cel. strings (16/14/12/10/8)

Duration: 26’

First performance: 23 February 2017, boston, boston symphony hallbaiba skride (violin) – harriet krijgh (violoncello) – elsbeth moser (bayan) – boston symphony orchestra – andris nelsons (conductor)


diaLoG: icH und du (Dialogue: You anD i) 2018concerto for violin and orchestra no. 3Commissioned by the Vadim Repin FoundationDedicated to Vadim Repin and Andres Mustonen

4(picc).3.5(Eb clar, bass clar).4(db bn) – 4.4.tenor trbn. bass trbn.2(db tuba) – 21 perc (3 timp, tgl, side dr, tenor dr, bass dr, 2 susp.cym, gongs, bells, tam-t, glsp). 2 harps. cel. strings (16/14/12/10/8)

Duration: 20’

First performance: 2 april 2018, novosibirskvadim repin (violin) – novosibirsk philharmonic orchestra – andres Mustonen (conductor)


der zorn Gottes (the Wrath oF goD) 2019for orchestraCommissioned by Osterfestspiele SalzburgDedicated to Ludwig van Beethoven

4(picc).3.5(Eb clar, bass clar).4(db bn) – 4.4Wagner tubas (B, F [2/2]).4 (C, B [1/3]).4 (tenor trbn, tenor bass trbn, db trbn). 2 – timp, 2 perc (tgl, side dr, tenor dr, bass dr, 2 cym, large tam-t, bells, glsp). strings (16/14/12/10/8)

Duration: 18’

First performance: 6 april 2020, salzburgsächsische staatskapell Dresden – christian thielemann (conductor)


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worKs for cHamber orcHestra / ensembLe

rubaYat (rubaiJat) 1969cantata for baritone and chamber ensemble on poems by the ancient persian poetsomar khayyám, hafiz and khakani (russian translation by vladimir Derzhavin)

► see: vocal Works

concordanza 1971for chamber ensemble

1.1.1.1 – 1.0.0.0 – 1 perc (5 bongos, side dr, 5 susp cym, large tam-t, vibr, marimba). strings (1/0/1/1/1)

Duration: 15’

First performance: 23 May 1971, pragueMusica viva pragensis – Zbynek vostrak (conductor)

© sikorski, hamburg · scores: sik 8866 , Muzyka, Moscow

detto ii 1972for violoncello and chamber ensembleDedicated to Natalya Shakhovskaya

1.1.1.1 – 1.0.0.0 – 2 perc (i: 3 wood bl, 5 tom-t, glsp, marimba – ii: crot, 5 temple bl, 5 bongos, 3 susp cym, large tam-t). cel. strings (1/1/1/1/1)

Duration: 15’

First performance: 5 May 1973, Moscownatalya shakhovskaya (violoncello) – Moscow chamber orchestra – konstantin krimets (conductor)

© sikorski, hamburg · scores: sik 8552 , sovetsky kompozitor, Moscow

concerto for bassoon and Low strinGs 1975Dedicated to Valery Popov

1. q = 84 / 2. q = 60 / 3. 5 e = 60 / 4. – / 5. h = 72violoncelli (at least 4). double basses (at least 3)

Duration: 27’

First performance: 6 May 1976, Moscow

valery popov (bassoon) – soloists of the Moscow state symphony orchestra – pyotr Meshchaninov (conductor)

© sikorski, hamburg · scores: sik 1978, Muzyka, Moscow

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introitus 1978concerto for piano and chamber orchestraDedicated to Alexander Bakhchiev

1.1.0.1 – 0.0.0.0 – strings (6/4/4/3/1)

Duration: 29’

First performance: 22 February 1978, Moscowalexander bakhchiyev (piano) – Moscow chamber orchestra – Yuri nikolayevsky (conductor)


descensio 1981for three trombones, three percussionists, harp, harpsichord/celesta and celesta/pianoDedicated to Pyotr MeshchaninovCommissioned by the Ministère de la Culture Française

3 perc (i: timp, crot, bass dr, cym, vibr – ii: timp, susp cym, tam-t, glsp, marim-ba – iii: timp, tgl, cym, vibr)

Duration: 14’

First performance: 30 april 1981, parisensemble 2e2m – paul Méfano (conductor)

© le chant du Monde, paris · sikorski, hamburg for D, ch, e, gr, il, is, nl, p,n, s, Dk, tr · score: le chant du Monde, paris (sik 6831)

perception 1981/1983/1986for soprano, baritone (speaking voices) and seven string instruments on poems by Francisco tanzer and excerpts from the psalms (in german)

► see: vokal Works


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seven words (sieben Worte) 1982for violoncello, bayan and stringsDedicated to Vladimir Tonkha and Friedrich Lips 1. Father, forgive them, for they know not what they do. attacca 2. Woman, behold thy son! – behold, thy mother! attacca 3. verily, i say unto thee, today shalt thou be with me in paradise. attacca 4. My god, my god, why hast thou forsaken me? attacca 5. i thirst. attacca 6. it is finished. attacca 7. Father, into thy hands i commend my spirit.

strings (5/4/3/2/1)

Duration: 32’

First performance: 20 october 1982, Moscowvladimir tonkha (violoncello) – Friedrich lips (bayan) – ‘ricercar’ chamber or-chestra – Yuri nikolayevsky (conductor)

© sikorski, hamburg · scores: sik 1827 · sovetsky kompozitor, Moscow

ein waLzerspass nacH joHann strauss 1987(WittY WaltZing in the stYle oF Johann strauss)for soprano (vocalise) and octet after Johann strauß’ 'geschichten aus dem Wie-nerwald’ op. 325 ► see: vocal Works

HommaGe À t. s. eLiot 1987/1991for soprano and octet ► see: vocal Works

. . . earLY in tHe morninG, riGHt before waKinG . . . 1993( . . . heute FrÜh, kurZ vor DeM erWachen . . . ) for three 17-stringed Japanese bass kotos and four 13-stringed Japanese kotosDedicated to Kazue SawaiDuration: 10’

First performance: 4 June 1994, tokyokazue sawai koto ensemble



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now aLwaYs snow (JetZt iMMer schnee) 1993for chamber ensemble and chamber choir

► see: vocal Works

in anticipation ( in erWartung) 1994for saxophone quartet and six percussionistsDedicated to the Raschèr Quartet and the Kroumata EnsembleCommissioned by Svenska Rikskonserter

6 perc (i: timp, flex, 15 temple bl, susp cym, vibr [i] – ii: 12 bongos, medium bass dr, large bass dr, 3 tam-t, vibr [ii] – iii: crot, 12 tom-t, tubular bells, vibr [i] – iv: guiro, 6 tom-t, tubular bells, vibr [ii] – v: guiro, susp cym [on the stage and in the auditorium], vibr [i], marimba [i] – vi: guiro, susp cym [on the stage an in the auditorium], vibr [ii], marimba [ii])

Duration: 17’

First performance: 12 February 1994, stockholmraschèr saxophone Quartet (carina raschèr, harry kinross White, bruce Wein-berger, keneth coon) and kroumata ensemble, percussion (anders loguin, roger bergström, ingvar hallgren, anders holdar, leif karlsson, Johann silvmark)


impromptu 1996for flute (fl/alto fl), violin and stringsDedicated to Irena Grafenauer and Gidon KremerCommissioned by KölnMusik for the ‘Schubert Anniversary Year 1997’

strings (6/5/4/3/2)

Duration: 15’

First performance: 16 January 1997, cologneirena grafenauer (flute) – gidon kremer, violin – Deutsche kammerphilharmonie bremen



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risonanza 2001for three trumpets, four trombones, organ and six string instrumentsCommissioned by the Schönberg EnsembleDedicated to Reinbert de Leeuw

0.0.0.0 – 0.3(picc, bass).4(2ten trbn, ten-bass trbn, bass trbn).0 – org. vn i. vc i. db. vn ii. va. vc ii

Duration: 23’

First performance: 18 april 2001, amsterdamschönberg ensemble – reinbert de leeuw (conductor)


miraGe: tHe dancinG sun (Mirage: Die tanZenDe sonne) 2002for eight violoncelliDedicated to the Octuor de Violoncelles de BeauvaisCommissioned by Rencontres d’Ensembles de Violoncelles, BeauvaisDuration: 12’

First performance: 10 May 2002, beauvaisl’octuor de violoncelles de beauvais


M i r a g e : t h e D a n c i n g s u n is also available in a version for eight double basses arranged by Daniele roccato, performed for the first time in rome on 5 april 2013 by ‘ludus gravis’.

on tHe edGe of abYss (aM ranDe Des abgrunDs) 2002for seven violoncelli and two waterphonesDedicated to Viktor SuslinDuration: 15’

First performance: 28 February 2003, Moscowvladimir toncha and his cello ensemble – sofia gubaidulina and viktor suslin (waterphones)

© sikorski, hamburg · score: sik 71055, parts: sik 71056


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verwandLunG (transForMation) 2004for trombone, saxophone quartet, violoncello, double bass and tam-tamCo-Commissioned by the Turku Philharmonic Orchestra and the Trondheim Chamber Music FestivalDedicated to Christian Lindberg and the Raschèr Saxophone QuartetDuration: 29’

First performance: 14 March 2004, turku (aboa Musica Festival)christian lindberg (trombone) – raschèr saxophone Quartet

© sikorski, hamburg · score: sik 71003, parts: sik 71019

tHe LYre of orpHeus (Die leier Des orpheus) 2005for violin, percussion and stringsCommissioned by ‘les muséiques’ Festival, Basel

2-4 perc (i: crot, tamb, side dr i, thunder – ii: chimes, crot, tamb, side dr ii, glsp, xyl – iii[ad lib.]: bar chimes i, bass dr, bells, tam-t – iv[ad lib.]: 3 timp, bar chimes ii, susp. cym). strings (6/5/4/4/2)

Duration: 24’

First performance: 11 June 2006, baselgidon kremer (violin) – andrei pushkarev and peter sadlo (percussion) – kreme-rata baltica


facHwerK 2009for bayan, percussion and stringsDedicated to Geir Draugsvoll

perc (timp, tgl, 3 susp.cym, tam-t, bells, glsp, marimba) – strings (6/5/4/3/2 or 12/10/8/6/4)

Duration: 36’

First performance: 13 november 2009, gentgeir Draugsvoll (bayan) – anders loguin (percussion) – amsterdam sinfonietta – reinbert de leeuw (conductor)

© sikorski, hamburg · study score: sik 8691 · solo part: sik 71062

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LabYrintH 2011for twelve violoncelliCommissioned by Lucerne FestivalDedicated to the Twelve Cellists of the Berlin Philharmonic OrchestraDuration: 20’

First performance: 30 august 2011, lucernethe twelve cellists of the berlin philharmonic orchestra


warum? 2014for flute (bass flute), clarinet (bass clarinet) and string orchestraCocommissioned by the Festivals of Emilia Romagna, Ljubljana, Ravello, Brescia e Bergamo, Verona, Canary Islands and by Amsterdam Sinfonietta and Staatskapelle Dresden

strings (6/5/4/3/2 or 12/10/8/6/4)

Duration: 32’

First performance: 22 July 2014, ForlìMassimo Mercelli (flutes) – riccardo crocilla (clarinets) – Filarmonica '900 del teatro regio di torino – andres Mustonen (conductor)


einfacHes Gebet. Messa bassa (s iMple praYer) 2016for narrator, two violoncelli, double bass, piano and two percussioniststext: prayers and psalms (in russian)Dedicated to Vladimir TonkhaDuration: 40’

First performance: 24 october 2016, Moscowvladimir tonkha (narrator, violoncello i) – vladislav provotar (violoncello ii) – De-nis burshtein (piano)


there is also a version of e i n f a c h e s g e b e t translated into german which was premiered on 25 June 2017 in gohrisch with emil rovner (narrator, violoncello i), simon kalbhenn (violoncello ii), petr popelka (double bass), elisaveta blumina (piano) and christian langer and simon etzold (percussion).


36

piano Quintet 1957

1. allegro 2. andante marciale 3. larghetto sensibile 4. presto

Duration: 20‘

First performance: 1958, Moscowkomitas Quartet – sofia gubaidulina (piano)

© sikorski, hamburg · scores: Muzyka publishers, Moscow · sik 71020 · score and parts: sik 71021

cHaconne 1962for pianoDedicated to Marina MdivaniDuration: 7’

First performance: 15 December 1962, MoscowMarina Mdivani

© sikorski, hamburg · score: Zen-on Music, tokyo (sik 6849)

aLLeGro rustico 1963for flute and piano

Duration: 6’

First performance: 1963, rigaalfred razbaum (flute) – braun (piano)

© sikorski, hamburg · scores: sik 814, sovetsky kompozitor, Moscow, Muzyka, Moscow

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five etudes 1965for harp, double bass and percussion

1. largo 2. allegretto 3. adagio 4. allegro disperato 5. andante

1 perc (tambourine, 4 bongos, side dr, susp cym, marimba)

Duration: 12’

First performance: 25 February 1967, Moscowvera savina (harp) – boris artemyev (double bass) – valentin snegiryov (percus-sion)


sonata for piano 1965Dedicated to Henrietta Mirvis 1. allegro 2. adagio 3. allegretto

Duration: 15’

First performance: 1967, MoscowMaria gambaryan

© sikorski, hamburg · scores: Zen-on Music, tokyo (sik 6849), sovetsky kompozitor,Moscow

pantomime 1966for double bass and pianoDedicated to Boris ArtemyevDuration: 6’

First performance: 17 May 1981, Moscow boris artemyev, double bass – olga günter, piano

© sikorski, hamburg · scores: sik 1895, sovetsky kompozitor, Moscow

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sonata for two percussionists withdrawn ca. 1966Dedicated to Mark Pekarsky

2 perc (i: timp, tambourine, 5 tom-t, turkish cym, tubular bells, 2 aluminium discs, vibr – ii: tgl, crot, cast, temple bl, tambourine, chinese cym or tam-t)

Duration: 22’


musicaL toYs (Musikalisches spielZeug) 1969a collection of piano pieces for children

1. Mechanical accordion 2. Magic roundabout 3. the trumpeter in the Forest 4. the Magic smith 5. april Day 6. song of the Fisherman 7. the little tit 8. a bear playing the Double bass and the black Woman 9. the Woodpecker 10. the elk clearing 11. sleigh with little bells 12. the echo 13. the Drummer 14. Forest Musicians

Duration: 25’

First complete performance: 1993, usaandreas haefliger

© sikorski, hamburg · scores: Zen-on Music, tokyo (sik 6851), Muzyka, Moscow

vivente – non vivente 1970for synthesizer

Duration: 11’


a notated record of v i v e n t e – n o n v i v e n t e is not extant. the work was conceived for evgeni Murzin’s ans synthesizer from 1957, whose sounds are pro-duced photo-electronically. gubaidulina describes the compositional process: “ ... the composer applies black paint on a glass surface. the drawing is then exposed to light and this combination produces sound.”

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strinG Quartet no. 1 1971in one movement

Duration: 21’

First performance: 24 March 1979, colognearcis Quartet

© sikorski, hamburg · score: sik 71023 · parts: sik 71024

toccata – troncata 1971for piano

Duration: 1’

© sikorski, hamburg · scores: Zen-on Music, tokyo (sik 6849) · sovetsky kompo-zitor, Moscow

music for HarpsicHord and percussion 1971/1993instruments from marK peKarsKY’s coLLectionDedicated to Boris Berman and Mark Pekarsky 1. quasi recitativo 2. con moto

1 perc (crot, 6 chinese cym (amplified), pien-chung (chinese bell chimes), zheng)

Duration: 9’

First performance: 5 april 1972, leningradboris berman (harpsichord) – Mark pekarsky (percussion)


rumore e siLenzio 1974for percussion and harpsichord/celestaDedicated to Alexei Lyubimov and Mark Pekarsky

perc: crot, bundle of sleigh bells, indian sleigh bells, small valday bells, quar-ter-tone bells, rattle, russian rattle, guiro, temple bl, 4 tom-t, 4 susp cym, gong, Javanese tam-t, swanee whistle, glsp – hpd: sleigh bells, indian sleigh bells, small valday bells, bamboo rattle, 2 flex, maracas, guiro, cel, hpd

Duration: 11’

First performance: 16 april 1975, leningradMark pekarsky (percussion) – alexei lyubimov (harpsichord)


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ten preLudes (etudes ) 1974for violoncello soloDedicated to Vladimir Tonkha 1. staccato – legato 2. legato – staccato 3. con sordino – senza sordino 4. ricochet 5. sul ponticello – ordinario – sul tasto 6. flagioletti 7. al taco – da punta d’arco 8. arco – pizzicato 9. pizzicato – arco 10. senza arco

Duration: 26’

First performance: 12 December 1977, Moscowvladimir tonkha

© sikorski, hamburg · scores: sik 1839, sovetsky kompozitor, Moscow, Zen-onMusic, tokyo

· version for double bass

eiGHt etudes for soLo doubLe bass 2009 Dedicated to Alexander Suslin preludes nos. 1-5, 7, 9, 10

Duration: 24’


Quattro 1974for two trumpets and two trombones

Duration: 7’

First performance: 22 november 1974, MoscowF. regin and l. chumov (trumpets) – a. skobelev and v. Dutov (trombones)

© sikorski, hamburg · scores: sik 71042, sovetsky kompozitor, Moscow · parts: sik 71043

invention 1974for piano

Duration: 2’

© sikorski, hamburg · score: Zen-on Music, tokyo (sik 6849), Muzyka, lenin-grad, sovetsky kompozitor, Moscow

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sonata for doubLe bass and piano 1975

one movement

Duration: 8’

First performance: april 1978, Moscowanatoli grindenko (double bass) – sofia gubaidulina (piano)


LiGHt and darKness (hell unD Dunkel) 1976for organ solo

Duration: 5’

First performance: 21 May 1979, leningradalexei lyubimov

© sikorski, hamburg · scores: sik 882, Muzyka, Moscow

two baLLads (ZWei ballaDen) 1976for two trumpets and piano

Duration: 2’


dots, Lines and ziGzaG (punkte, linien unD ZickZack) 1976for bass clarinet and pianoCommissioned by and dedicated to Emma Kovárnová and Josef HorákDuration: 10’

First performance: 22 February 1977, berlinJosef horák (bass clarinet) – emma kovárnová (piano)


trio for tHree trumpets 1976

Duration: 7’

© sikorski, hamburg scores: sik 71008, sovetsky kompozitor, Moscow

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Lamento 1977for tuba and piano

Duration: 5’


misterioso 1977for seven percussionistsDedicated to Vladimir Steiman

7 perc (i: timp [c#-a], tgl, sidedr, vibr – ii: timp [a-f], tgl, sidedr, glsp – iii: timp [F-d], sidedr, glsp – iv: timp [e-c], sidedr, gong, vibr – v: tam-t, tubular bells, vibr, marimba – vi: cym, gong, tubular bells, vibr, marimba – vii: cym, gong, tubular bells, vibr, marimba)

Duration: 14’

First performance: 5 april 1977, Moscowvladimir steiman, conductor

© sikorski, hamburg · score: sik 71084, sovetsky kompozitor, Moscow

on tatar foLK tHemes 1977(nach Motiven aus Der tatarischen Folklore)three collections for domra and piano

1. Five pieces for soprano domra and piano 2. Five pieces for alto domra and piano 3. Five pieces for bass domra and piano

Duration: 25’

First performance (no. 1 only): December 1993, kazan

First performance (complete cycle):December 1996, Zurichsuzel Mukhametdinova, Y. sokolskaya


sonG witHout words (lieD ohne Worte) 1977for trumpet and piano

Duration: 2’


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duo sonata for two bassoons 1977Dedicated to Valery PopovDuration: 8’

First performance: 17 May 1978, Moscowvalery popov and vsevolod brenner


► a r r a n g e m e n t for alto saxophone and violoncello by giovanni nardi (2003) · score: sik 8881.

Quartet for four fLutes 1977(four flutes, three alto flutes)

1. q = 84 2. q = 84 3. q = 92 4. h = 58 5. q = 100

Duration: 14’

First performance: 1977, parisQuatuor arcadie (nicolas brochot, pierre-Yves artaud, alette leroy-biget, pierre alain biget)


detto i 1978sonata for organ and percussion

1 perc (timp, crot, byan-dzung [chinese bell chimes], bundle of bells [sanctus bells], 4 temple bl, 5 bongos, cym, tubular bells, glsp, xyl)

Duration: 22’

First performance: 14 october 1979, Moscowtatyana sergeyeva (organ) – victor grishin (percussion)


sounds of tHe forest (klÄnge Des WalDes) 1978for flute and piano

Duration: 3’


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de profundis 1978for bayan soloDedicated to Friedrich LipsDuration: 10’

First performance: 8 april 1980, MoscowFriedrich lips

© sikorski, hamburg · scores: sik 8742, sovetsky kompozitor, Moscow, centre Di-dactique de Musique lacroix, geneva, schmülling, kamen 1124 (sik 6895)

sonatina for fLute 1978

Duration: 6’

© sikorski, hamburg · scores: g. schirmer, new York 3824 (sik 6612), sovetsky kom-pozitor, Moscow

two pieces for Horn and piano 1979(ZWei stÜcke FÜr horn unD klavier)

1. Far away 2. the hunt

Duration: 2’


in croce 1979for violoncello and organ(version for double bass and organ by alexander suslin – version for violoncello and bayan by elsbeth Moser-vagnsson, 1991 – version for double bass and piano, 2009)Dedicated to Vladimir TonkhaDuration: 15’

First performance: 27 March 1979, kazanvladimir tonkha, violoncello – rubin abdullin (organ)

First performance of the version for violoncello and bayan: 16 november 1991, hanoverchristoph Marks, violoncello – elsbeth Moser-vagnsson, bayan

© sikorski, hamburg · scores: sik 1829, sovetsky kompozitor, Moscow · version forvioloncello and bayan: sik 1940

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jubiLatio 1979for four percussionistsDedicated to Mark Pekarsky

4 perc (i: dulcimer with plectrum, tom-t, guiro, darabuca, cym, ratchet, collar with cow bells, gangu, balloon – ii: gangu, cym, wood bl, yaogu, dulcimer – iii: tangu, temple bl, bangz, castanets, bells, large tam-t, jarar, signal whistle – iv: yaogu, gongos, nagara, bangz, tenor dr, bells, large tam-t, 2 bundles of harness bells)

Duration: 6’

First performance: 13 January 1979, Moscowensemble Mark pekarsky


Garden of joY and sorrow 1980(garten von FreuDen unD traurigkeiten) for flute, harp and viola (speaker ad lib.)text by Francisco tanzer (in german)Dedicated to Francisco TanzerDuration: 20’

First performance: 9 February 1981, Moscowsergei bubnov (flute) – irina kotkina (harp) – Mikhail gudimov (viola)


rejoice! (Freue Dich!) 1981sonata for violin and violoncelloDedicated to Natalia Gutman and Oleg Kagan 1. Your joy no man taketh from you 2. rejoice with them that do rejoice 3. rejoice, rabbi! 4. and he returned into his house 5. listen to the still small voice within

Duration: 25’

First performance: 27 July 1988, kuhmo, Finlandoleg kagan (violin) – natalia gutman (violoncello)


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in tHe beGinninG tHere was rHYtHm 1984( iM anFang War Der rhYthMus)for seven percussionistsDedicated to Mark Pekarsky

7 perc (7 timp, temple bl, wood bl, side dr, tenor dr, glsp, 2 marimbas)

Duration: 12’

First performance: 1986, tallinnensemble Mark pekarsky


Quasi HoQuetus 1984/1985/2008for viola, bassoon (or violoncello, or double bass) and pianoDedicated to Mikhail Tolpygo, Valery Popov and Alexander BakhchiyevDuration: 15’

First performance: 16 January 1985, MoscowMikhail tolpygo (viola) – valery popov (bassoon) – alexander bakhchiyev (piano)

© sikorski, hamburg · scores: sik 1845 (viola/bassoon/piano) / sik 8679 (viola/double bass/piano) / sik 8678 (viola/violoncello/piano)

et eXspecto 1986sonata for bayan soloDedicated to Friedrich Lips 1. q = 116 2. – 3. presto 4. q = 116 5. con moto

Duration: 12’

© sikorski, hamburg · scores: sik 8743 · Muzyka, Moscow · schmülling, kamen 1265

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strinG Quartet no. 2 1987Dedicated to the Sibelius QuartetCommissioned by Kuhmo Chamber Music Festival, FinlandDuration: 10’

First performance: 23 July 1987, kuhmo/FinnlandJean sibelius Quartet (Yoshiko arai, Jaakko vuornos, Jouko Mansnerus and seppo kimanen)

© sikorski, hamburg · score and parts: sik 1993

strinG Quartet no. 3 1987Commissioned by BBC, LondonDuration: 15’

First performance: 22 august 1987, edinburgharditti string Quartet (irvine arditti, David alberman, levine andrade and rohan de saram)

© boosey & hawkes, london · sikorski, hamburg for D, ch, e, gr, il, is, nl, p,n, s, Dk, tr) · score: boosey & hawkes, london (sik 6835 [parts] / sik 6836 [score])

strinG trio 1988Dedicated to the memory of Boris PasternakCommissioned by Radio FranceDuration: 20’

First performance: 4 March 1989, parisMembers of the Moscow string Quartet (Yevgenya alikhanova, violin – tatyana kochanovskaya, viola – olga ogranovich, violoncello)

© le chant du Monde, paris · sikorski, hamburg for D, ch, e, gr, il, is, nl, p,n, s, Dk, tr) · score and parts: le chant du Monde, paris (sik 6832)

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ein waLzerspass nacH joHann strauss 1989(WittY WaltZing in the stYle oF Johann strauss)for piano and string quintet after Johann strauß’ 'geschichten aus dem Wiener-wald’, op. 325 (arrangement of the original version for soprano and octet 1987)

Duration: 5’

First performance: 30 December 1989, Moscowgidon kremer, tatjana grindenko (violins) – vladimir Mendelssohn (viola) – tho-mas Demenga (violoncello) – Marc Marder (double bass) – vadim sacharov (pi-ano)


► see also: vocalWorks: e i n W a l z e r s p a ß n a c h J o h a n n s t r a u ß for soprano and octet

even and uneven (geraDe unD ungeraDe) 1991for seven percussionists (incl. harpsichord)Dedicated to Mark PekarskyCommissioned by Settembre Musica, Turin

7 perc (i: 2 timp, finger cym, wood bl, tarabuca, agogo, medium bass dr, 2 susp cym, 3 Javanese gongs, temple gong, glsp – ii: claves, wood bl, agogo, very large bass dr, 3 Javanese gongs, temple gong, glsp – iii: 2 timp, finger cym, wood bl, agogo, medium bass dr, susp cym, 3 Javanese gongs, temple gong, vibr – iv: crot, claves, wood bl, large bass dr, 3 Javanese gongs, temple gong, tubular bells – v: crot, agogo, tambourine, medium bass dr, 2 susp cym [with db bow], temple gong, medium tam-t – vi: agogo, tambourine, very large bass dr, 2 susp cym [with db bow], temple gong, large tam-t, glsp – vii: finger cym, agogo, temple gong, very large tam-t, cheng, hpd)

Duration: 7’

First performance: 18 september 1991, turinensemble Mark pekarsky, percussion – sofia gubaidulina (harpsichord and per-cussion)

© ricordi, Milano · sikorski, hamburg for D, ch, e, gr, il, is, nl, p, n, s, Dk, tr

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can You Hear us, LuiGi? LooK at tHe dance 1991a simpLe wooden rattLe is performinG for You (hÖrst Du uns, luigi? schau Mal, Welchen tanZ eine einFacheholZrassel FÜr Dich vollFÜhrt)for six percussionists

6 perc (i: rattle – ii: temple bl with handle – iii-vi: musical glasses, tam-t [different pitches])

Duration: 5’

First performance: 23 February 1991, Moscowensemble Mark pekarsky – sofia gubaidulina (percussion)


siLenzio 1991/2010Five pieces for bayan, violin and violoncello (or double bass)Dedicated to Elsbeth MoserCommissioned by Hannoversche Gesellschaft für Neue Musik 1. q = 96 2. e = 147 3. q = 56 4. e = 152 5. q = 72

Duration: 20’

First performance: 16 november 1991, hanoverelsbeth Moser-vagnsson (bayan) – kathrin rabus (violin) – christoph Marks (vio-loncello)


tatar dance (tatarischer tanZ) 1992for bayan and two double bassesDedicated to Viktor SuslinDuration: 5’

First performance: 25 July 1992, hitzackerelsbeth Moser-vagnsson (bayan) – Wolfgang güttler, alexander suslin (double basses)


50

dancer on a tiGHtrope (Der seiltÄnZer) 1993for violin and pianoCommissioned by the Library of Congress, Washington

Duration: 12’

First performance: 24 February 1994, Washingtonrobert Mann (violin) – ursula oppens (piano)


meditation on tHe bacH cHoraLe 1993‘vor deinen tHron tret icH Hiermit’ (bwv 668)for harpsichord, two violins, viola, violoncello and double bassCommissioned by the Johann-Sebastian-Bach-Gesellschaft BremenDuration: 10’

First performance: 30 september 1993, bremenrobert hill (harpsichord) – Members of Deutsche kammerphilharmonie bremen


strinG Quartet no. 4 1993with tape (colour organ ad lib.)Commissioned by and dedicated to the Kronos QuartetDuration: 12’

First performance: 20 January 1994, new Yorkkronos Quartet: David harrington, John sherba (violins) – hank Dutt (viola) – Joan Jeanrenaud (violoncello)


Le Grand tanGo [a s t o r p i a z z o l l a ] 1995arranged for violin and piano

Duration: 10’

First performance: 22 october 1995, san Franciscogidon kremer (violin) – vadim sakharov (piano)

© berben edizioni Musicali, ancona

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Quaternion 1996for four violoncelliDedicated to Vladimir TonkhaDuration: 25’

First performance: 11 april 1996, Moscowvladimir tonkha, elena shulyova, vladimir shulyov, Michail shumsky (violoncelli)


sonnenGesanG 1997st. Francis of assisi’s canticle of the sun for violoncello, chamber choir (6/6/6/6) and percussion ► see: vocal Works

ritorno perpetuo 1997for harpsichord

Duration: 12’

First performance: 27 september 1997, Warsawelisabeth chojnacka


refLections on tHe tHeme b-a-c-H 2002for string quartetCommissioned by and dedicated to the Brentano String QuartetDuration: 5’

First performance: 2 october 2002, Dartmouthbrentano string Quartet


there is an arrangement of r e f l e c t i o n o n t h e t h e m e b-a-c-h for string orchestra by gidon kremer from 2006. this version was performed for the first time on 27 May 2006 in augsburg by kremerata baltica.

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ravvedimento 2007for violoncello and guitar quartetCommissioned by Vincens Steensen-LethDedicated to Ivan Monighetti

guitars: soprano in c, alto in F, tenor in a , bass in c (13-strings)

Duration: 25’

First performance: 26 May 2007, tranekaer (langeland/Dk)ivan Monighetti (violoncello) – guitar ensemble 'quasi fantasia’

© sikorski, hamburg · score: sik 71001 · violoncello part: sik 71016 · guitar parts: sik 71017

► see also: p e n t i m e n t o and r e p e n t a n c e

pentimento 2007arrangement of r a v v e d i m e n t o for double bass and three guitarsCommissioned by Alexander SuslinDedicated to Ivan MonighettiDuration: 25’

First performance: 8 May 2008, salzburgalexander suslin (double bass)


repentance 2008arrangement of r a v v e d i m e n t o for violoncello, three guitars and double bassCommissioned by San Francisco SymphonyDedicated to Ivan MonighettiDuration: 25’

First performance: 22 February 2008, san FranciscoMembers of the san Francisco symphony

© sikorski, hamburg · study score: sik 8781 · parts: sik 71060

fantasia on tHe tHeme s–H–e–a [e flat – b fla t– e – a] 2008for two pianos (piano ii is pitched a quarter tone lower than piano i)Dedicated to Paloma O’SheaDuration: 15’

First performance: 6 June 2009, MadridMarcelo balat and luis grané


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cadenza 2003/2011for bayan

Duration: 5’

First performance: 22 august 2010, san sebastianiñaki alberdi


basque bayanist iñaki alberdi developed in collaboration with sofia gubaidulina the present, indipendant piece on the basis of the cadenza from u n d e r t h e s i g n o f s c o r p i o for which ► see: orchestral Works

sotto voce 2010/2013for viola, double bass and two guitarsCommissioned by the Festival ‘Europäische Wochen Passau’Dedicated to Alexander SuslinDuration: 22’

First performance: 30 June 2010, passauvladimir bochkovsky (viola) – alexander suslin (double bass) – pavel khlopovsky and Yvonne Zehner (guitars)

© sikorski, hamburg · study score: sik 8782 · parts: sik 71018

so sei es (so be it) 2013for violin, double bass, piano and percussionIn memoriam Viktor Suslin

perc (side dr, 5 susp.cym, tam-t, glsp, vibr, marimba)

Duration: 15’

First performance: 21 september 2014, gohrischnurit stark (violin) – alexander suslin (double bass) – cédric pescia (piano) – taiko saito (percussion)


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piLGrims (Die pilger) 2014for violin, double bass, piano and two percussionistsCommissioned by Serge Koussevitzky Music Foundation in the Library of CongressDedicated to Contempo Ensemble on the occasion of their 50th anniversary, and to Shulamit Ran

perc (5 timp, bar chimes, 2 susp.cym, 3 tam-t, glsp, bells, gongs, vibr, marim-ba)

Duration: 18’

First performance: 1 March 2015, chicagocontempo ensemble


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vocaL worKs

pHaceLia (Die phaZelie) 1956vocal cycle for soprano and orchestra

► see: orchestral Works

niGHt in mempHis (nacht in MeMphis) 1968/1988/1992cantata for mezzo-soprano, male choir and chamber orchestra ► see: orchestral Works

rubaYat (rubaiJat) 1969cantata for baritone and chamber ensemble on poems by the ancient persian poetsomar khayyám, hafiz and khakani (russian translation by vladimir Derzhavin)

1.1.1.1 – 2.1.1.0 – 2 perc (i: timp, 5 temple bl, tubular bells – ii: tgl, crot, wood bl, bongos, 2 tom-t, 3 susp cym, large tam-t, xyl). piano (amplified). strings (full set or 1/1/1/1/1) – baritone (amplified)

Duration: 15’

First performance: 24 December 1976, Moscowsergei Yakovenko (baritone) – soloists of the Moscow state symphony orchestra – gennady rozhdestvensky (conductor)


roses (rosen) 1972Five romances for soprano and piano on poems by gennadi aigi (in russian)

1. a Dream: the Way across the Field 2. alien bird 3. roses in the hills 4. a Field in Midwinter 5. and: the roses Wither

Duration: 12’

First performance: 15 January 1974, Moscowlidia Davydova (soprano) – sofia gubaidulina (piano)


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countinG rHYmes (abZÄhlreiMe) 1973Five children’s songs for voice and piano on poems by Jan satunovsky (in russian)

1. once upon a time 2. the crane 3. a fairy-tale creature 4. counting out song 5. the cuckoos

Duration: 5’


Laudatio pacis 1975oratorio in nine movements for soprano, alto, tenor, bass, speaker, three mixed choirs and large orchestra (without strings) ► see: orchestral Works

perception 1981/1983/1986for soprano, baritone (speaking voices) and seven string instruments on poems by Francisco tanzer and excerpts from the psalms (in german)

1. einsicht 2. Wir 3. pizzicato i 4. Dezember 5. pizzicato ii 6. begegnung 7. am Meer 8. col legno i 9. ich 10. ich und Du 11. col legno ii 12. Montys tod 13. stimmen

strings (2/0/2/2/1) – tape

Duration: 46’

First performance: 11 July 1986, lockenhaus chamber Music FestivalJutta geister (soprano) – charles naylor (baritone) – philip hirschhorn and isa-belle van keulen (violins) – kim kashkashian and neithard resa (viole) – thomas Demenga and richard Duwen (violoncelli) – alois posch (double bass) – Dennis russell Davies (conductor)


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HommaGe À marina tsvetaeva (ZWetaJeWa) 1984suite in five movements for a cappella choir on poems by Marina tsvetayeva (in russian)

1. Пало прениже волн [beneath the Waves] 2. Конь [the horse] 3. Всё великолепье труб [all splendour of the trumpets] 4. Интерлюдия [interlude] 5. Сад [the garden]

Duration: 15’

First performance: 27 november 1989, stockholmcecilia Wessman (soprano) – eva larsson-Myrsten (alto) – sven-erik alexanders-son (tenor) – sven-anders benktson (bass) – svedish radio choir – gustav sjökvist (conductor)


Letter to tHe poetess rimma daLos 1985(brieF an Die Dichterin riMMa Dalos)for soprano and violoncello (text by the composer – in russian)

Duration: 3’


ein waLzerspass nacH joHann strauss 1987(WittY WaltZing in the stYle oF Johann strauss)for soprano (vocalise) and octet after Johann strauß’ 'geschichten aus dem Wie-nerwald’ op. 325

0.0.1.1 – 1.0.0.0 – strings (1/1/1/1/1)

Duration: 5’

First performance: 25 March 1987, colognechristine Whittlesey (soprano) – eduard brunner (clarinet) – klaus thunemann (bassoon) – radovan vlatkovic (horn) – gidon kremer and isabelle van keulen (violins) – tabea Zimmermann (viola) – David geringas (violoncello) – alois posch (double bass)


► see also: e i n W a l z e r s p a ß n a c h J o h a n n s t r a u ß for piano and string quintet

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two sonGs on German foLK poetrY 1988(ZWei lieDer nach Deutschen volksDichtungen)for (mezzo-)soprano, flute, harpsichord and violoncelloDedicated to Roswitha SperberCommissioned by the Heidelberg Festival Ensemble 1. streitlied zwischen leben und tod 2. Wenn der pott aber nu en loch hat

Duration: 12’

First performance: 22 June 1988, heidelbergroswitha sperber (mezzo-soprano) – Willy Freivogel (flute) – peter schumann (harpsichord) – reimund korupp (violoncello)


HommaGe À t. s. eLiot 1987/1991for soprano and octetafter ‘Four Quartets’ (1936-1942) by t.s. eliot (in english)Commissioned by Köln Musik

0.0.1.1 – 1.0.0.0 – strings (1/1/1/1/1)

Duration: 40’

First performance: 25 March 1987, colognechristine Whittlesey (soprano) – eduard brunner (clarinet) – klaus thunemann (bassoon) – radovan vlatkovic (horn) – gidon kremer and isabelle van keulen (violins) – tabea Zimmermann (viola) – David geringas (violoncello) – alois posch (double bass)


jaucHzt vor Gott 1989for mixed choir and organtext from psalm 66: 1, 2 and 4 (in german)Dedicated to The Reverend Josef HerowitschDuration: 10’

First performance: 8 June 1990, colognecologne radio choir – Wolfram gehring (organ) – robin gritton (conductor)


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aLLeLuja 1990for mixed choir, boy soprano, organ and large orchestra


aus dem stundenbucH 1991for violoncello, orchestra, male choir and female speaker ► see: orchestral Works

now aLwaYs snow ( JetZt iMMer schnee) 1993for chamber ensemble and chamber choir on verses by gennadi aigi (in russian)Dedicated to Gennadi AigiCommissioned by Holland Festival 1993 1. You are My peace 2. note: apophatic 3. now always snow 4. note: apophatic 5. ode: native country

2 (picc).1.2 (bass cl). db bn – 0,1 (flex [6]).2(ten trbn,ten-bass trbn).0 – 2 perc (i: timp, finger cym, crot, susp cym, 9 Javanese gongs, tam-t, vibr – ii: timp, tgl, crot, flex[1], susp cym, 7 Javanese gongs, tam-t). vlni. vlnii (flex [4]). vla (flex [5]). vlc (flex [2]). db (flex [3]) – choir (6s/6a/6t/6b). speaker or tape

Duration: 25’

First performance: 12 June 1993, amsterdamschönberg ensemble – netherlands chamber choir – reinbert de leeuw (con-ductor)


ein enGeL . . . 1994for contralto and double bass on a poem by else lasker-schüler (in german)Dedicated to Ulrich EckhardtDuration: 7’

First performance: 28 May 1994, berlinMaria kowollik (mezzo-soprano) – alexander suslin (double bass)


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aus den visionen der HiLdeGard von binGen 1994for contraltotext by hildegard von bingen (in german)Dedicated to Alfred SchnittkeDuration: 2’

First performance: 6 July 1997, ludwigsburgstephanie haas


GaLLows sonGs a 3 (galgenlieDer) 1996/1998Fifteen pieces for mezzo-soprano, percussion and double bass on poems by chri-stian Morgenstern (in german)Dedicated to and commissioned by Patricia Adkins Chiti 1. Die Mitternachtsmaus 2. Das nachdenken 3. Das ästhetische Wiesel 4. Das knie 5. Das spiel i 6. Das spiel ii 7. Die beichte des Wurms 8. psalm 9. Der tanz 10. Das gebet 11. Das Fest des Wüstlings 12. improvisation 13. Fisches nachtgesang 14. nein! 15. Das Mondschaf

1 perc (timp, crot [susp], 2 bronze rattles, flex, 3 wood bl, 5 bongos, 5 tom-t, 5 susp cym, large tam-t, tubular bells, glsp, marimba)

Duration: 45’

First performance: 25 november 1996, huddersfield Festival, st paul’s hallpatricia adkins chiti (mezzo soprano) – Marta ptaszynska (percussion) – alexander suslin (double bass)


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GaLLows sonGs a 5 (galgenlieDer) 1996Fourteen pieces for mezzo-soprano, flute, percussion, bayan and double bass on poems by christian Morgenstern (in german)Dedicated to Ensemble ‘that’Commissioned by Hannoversche Gesellschaft für Neue Musik 1. Die Mitternachtsmaus 2. Das ästhetische Wiesel 3. Das knie 4. Die beichte des Wurms 5. improvisation 6. Die prozession 7. Der tanz 8. Das gebet 9. Das Fest des Wüstlings 10. Das spiel i 11. Das spiel ii 12. Fisches nachtgesang 13. nein! 14. Das Mondschaf

1 perc (timp, crot [susp], 2 bronze rattles, flex, 3 wood bl, 5 bongos, 5 tom-t, 5 susp cym, large tam-t, tubular bells, glsp, marimba)

Duration: 45’

First performance: 23 May 1997, hannoverensemble ‘that’ (elena vassilieva, carin levine, edith salmen-Weber, elsbeth Mo-ser, Wolfgang güttler)


sonnenGesanG 1997st. Francis of assisi’s canticle of the sun for violoncello, mixed choir (at least 6/6/6/6) and percussion (in italian)Dedicated to Mstislav RostropovichCommissioned by Radio France

3 perc (i: timp, musical glasses, ant. cym, tam-t, plate bells, marimba – ii: crot, musical glasses, ant. cym, tubular bells, plate bells, glsp, vibr, cel) – wind gong, bass dr and flex to be played by the soloist

Duration: 43’

First performance: 9 February 1998, FrankfurtMstislav rostropovich, violoncello – state choir of kaunas – percussionists of the lithuanian national orchestra – robertas servenikas (conductor)


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st. joHn passion ( Johannes-passion) 2000for soprano, tenor, baritone, bass, two mixed choirs and large orchestra (in russian)


st. joHn easter ( Johannes ostern) 2001for soprano, tenor, baritone, bass, two mixed choirs and large orchestra (in russian)


o Komm, HeiLiGer Geist 2015for soprano, bass, mixed choir and orchestra


über Liebe und Hass (on love anD hatreD) 2015/2016for soprano, tenor, baritone, bass, two mixed choirs and orchestra


einfacHes Gebet (s iMple praYer) 2016for narrator, two violoncelli, double bass, piano and two percussionists

► see: Works For chaMber orchestra / enseMble

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serenade 1960for solo guitar

Duration: 3’


toccata 1969for solo guitar

allegretto q = 92

Duration: 3’


te saLutant 1978capriccio for large light orchestra

2(picc).1.Eb cl.alto sax.2tensax.barsax.1 – 3.5.5.0 – 3 perc (tgl, sleigh bells, bundle of harness bells, maracas, tambourine, side dr, Jazz perc, cym, 5 gongs, tam-t, tubular bells, glsp, xyl). 4 el gtr. harp. piano. org. strings (6/5/4/0/0)

Duration: 5’

First performance: 1978, MoscowMoscow radio light orchestra – alexander Mikhailov (conductor)


answer witHout Question (antWort ohne Frage) 1988collage for three orchestras (simultaneously using passages from prokofiev’s over-ture op. 42, shostakovich’s eight english and american Folk songs and ives’s sym-phony no. 4)Dedicated to Gennady Rozhdestvensky

f i r s t o r c h e s t r a : 3 (picc).3 (cor anglais).3 (bass cl).3 (db bn) – 4.2.3.0 – timp. 2 harps. cel. piano – s e c o n d o r c h e s t r a : 0.0.0.0 – 17 (4 picc,2 alto,4 ten,2 bar,5 bass).3. 5 cornets.3.0 – perc (i: bell tree, side dr, cym – ii: side dr, bass dr, cym) – t h i r d o r c h e s t r a : 1.0.1.0 – 0.0.1.0 – tubular bells. strings

Duration: 8’

First performance: 4 January 1989, MoscowMoscow state symphony orchestra – gennady rozhdestvensky (conductor)


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Lauda 1991for alto, tenor, baritone, speaker, mixed choir and large orchestra

4 (picc/alto fl).0.4 (Eb cl/bass cl).2 – 4.3.3.1 – 6 perc (timp, crot, rattle, susp cym, tam-t, glsp, marimba). cel. org. strings (16/16/12/8/8)

Duration: 15’

First performance: 27 December 1991, genova (as part of the ballet ‘prayer for the age of aquarius’)patricia adkins chiti (contralto) – oleg orlov (tenor) – georgi sastavni (baritone) – galina vishnevskaya (speaker) – latvian state choir of riga – orchestra of teatro carlo Felice, genova – Mstislav rostropovich (conductor)(to be performed only together with p r o e t c o n t r a and a l l e l u j a )


marcH ‘swan, crab and piKe’ 1982for brass ensemble and percussionjointly composed with edison Denisov (1), alfred schnittke (2), sofia gubaidulina (3) and gennadi rozhdestvensky (percussion)

1. the swan Tempo di marcia attacca 2. the crab [L’istesso tempo] attacca 3. the pike [L’istesso tempo]

0.0.0.0 – 4.3.3.1 – perc (timp, side dr, bass dr, cym)

Duration: 5’

First performance: 15 april 1982, MoscowMembers of the ussr Ministry of culture symphony orchestra – gennadi rozh-destvensky (conductor) · score: sik 8869


this March was written at the instigation of gennady rozhdestvensky as an encore for the above mentioned concert in the great hall of the Moscow conservatory, at which edison Denisov’s p e i n t u r e, sofia gubaidulina’s o f f e r t o r i u m and alfred schnittke’s g o g o l s u i t e were performed. it was used by schnittke as an introduction and finale of his ballet s k e t c h e s in 1985.

sofia gubaidulina has also written music for a number of films. she considers her most important works in this genre to be the scores for ‘the scarecrow’ (directed by rolan bykov, Mosfilm), ‘the university chair’ (belorusfilm), ‘the circus tent’, based on Federico garcía lorca (directed by ida garanina, ani-mated Film studio Moscow), and ‘veliki samoyed’ (directed by arkadi kor-don).

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abzählreime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

allegro rust ico . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

alleluja . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

am rande des abgrunds (on the edge of abyss) . . . . . . . . . . . . . . . . 33

and: the fest ivit ies at their Height(und: Das Fest is t in vol lem gang) . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

answer without Question (antwort ohne Frage) . . . . . . . . . . . . . . . . 63

antwort ohne frage (answer Without Quest ion) . . . . . . . . . . . . . . . . 63

aus dem stundenbuch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

aus den visionen der Hildegard von bingen . . . . . . . . . . . . . . . . . . . . 60

brief an die dichterin rimma dallos(let ter to the poetess rimma Dallos) . . . . . . . . . . . . . . . . . . . . . . . . . 57

cadenza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

can you hear us, Luigi? Look at the dance a s imple wooden ratt leis performing for you(hörst Du uns, luigi? schau mal, welchen tanz eine einfacheholzrassel für Dich vol l führt ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

chaconne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

concerto for bassoon and Low strings . . . . . . . . . . . . . . . . . . . . . . . . . 29

concerto for viola and orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

concordanza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

counting rhymes (abzählreime) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

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dancer on a tightrope (Der sei l tänzer) . . . . . . . . . . . . . . . . . . . . . . . 50

. . . the deceitful face of Hope and of despair . . . . . . . . . . . . . . . . . . . 24

de profundis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

descensio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

detto i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

detto ii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

dots, Lines and zigzag (punkte, linien und Zickzack) . . . . . . . . . . . . 41

duo sonata for two bassoons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

dialog: ich und du. concerto for viol in and orchestra no. 3(Dialogue: You and i ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

. . . early in the morning, right before waking . . .( . . . heute f rüh, kurz vor dem erwachen . . . ) . . . . . . . . . . . . . . . . . . . . 31

eight etudes for solo double bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

ein engel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

einfaches Gebet. Messa bassa (simple prayer) . . . . . . . . . . . . . . . . . . 35

et exspecto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

etudes (ten preludes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

even and uneven (gerade und ungerade) . . . . . . . . . . . . . . . . . . . . . . 48

fachwerk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

fairytale poem (Märchenpoem) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

fantasia on the them s–H–e–a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

feast during a plague(Das gastmahl während der pest ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

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figures of time (Zei tgestal ten) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

five etudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

freue dich! (rejoice!) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Galgenlieder à 3 (gallows songs) . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Galgenlieder à 5 (gallows songs) . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Gallows songs à 3 (galgenlieder) . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Gallows songs à 5 (galgenlieder) . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Garden of joy and sorrow (garten von Freuden und traurigkei ten) . . 45

Garten von freuden und traurigkeiten (garden of Joy and sorrow) . . 45

das Gastmahl während der pest (Feast During a plague) . . . . . . . . . . 25

Gerade und ungerade (even and uneven) . . . . . . . . . . . . . . . . . . . . . 48

Glorious percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Le grand tango [a s t o r p i a z z o l l a ] . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Hell und dunkel (l ight and Darkness) . . . . . . . . . . . . . . . . . . . . . . . . 41

. . . Heute früh, kurz vor dem erwachen . . .( . . . ear ly in the Morning, right before Waking . . . ) . . . . . . . . . . . . . . . 31

Hörst du uns, Luigi? schau mal, welchen tanz eine einfacheHolzrassel für dich vol l führt(can you hear us, luigi? look at the dance a s imple wooden rat t leis performing for you) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Hommage à marina tsvetaeva (Zwetajewa) . . . . . . . . . . . . . . . . . . . . 57

Hommage à t. s. el iot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Hour of the soul (s tunde der seele) . . . . . . . . . . . . . . . . . . . . . . . . 13, 14

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im anfang war der rhythmus ( in the beginning there was rhythm) . . 46

impromptu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

im schatten des baumes ( in the shadow of the tree) . . . . . . . . . . . . . 19

im zeichen des skorpions (under the sign of scorpio) . . . . . . . . . . . . 24

in anticipation ( in erwartung) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

in croce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

in erwartung ( in anticipat ion) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

in the beginning there was rhythm ( im anfang war der rhythmus) . . 46

in the shadow of the tree ( im schatten des baumes) . . . . . . . . . . . . . 19

in tempus praesens. concerto for viol in and orchestra no. 2 . . . . . . . 25

introitus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

invention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

jauchzt vor Gott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

jetzt immer schnee (now allways snow) . . . . . . . . . . . . . . . . . . . . . . 59

johannes-ostern (s t . John easter ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

johannes-passion (s t . John passion) . . . . . . . . . . . . . . . . . . . . . . . . . . 21

jubi lat io . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Klänge des waldes (sounds of the Forest ) . . . . . . . . . . . . . . . . . . . . . . 43

Labyrinth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Lamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

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Lauda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Laudatio pacis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

die Leier des orpheus (the lyre of orpheus) . . . . . . . . . . . . . . . . . . 34

Letter to the poetess rimma dalos(br ief an die Dichter in rimma Dalos) . . . . . . . . . . . . . . . . . . . . . . . . . 57

das Licht des endes (the light of the end) . . . . . . . . . . . . . . . . . . . . . 23

Lied ohne worte (song Without Words) . . . . . . . . . . . . . . . . . . . . . . . 42

Light and darkness (hell und Dunkel) . . . . . . . . . . . . . . . . . . . . . . . . 41

the Light of the end (Das licht des endes) . . . . . . . . . . . . . . . . . . . . 23

the Lyre of orpheus (Die leier des orpheus) . . . . . . . . . . . . . . . . . . 34

march ‘swan, crab and pike’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

märchenpoem (Fairy-tale poem) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

meditation on the bach chorale ‘vor deinen thron tret ich hiermit’ . . 50

mirage: the dancing sun (Mirage: Die tanzende sonne) . . . . . . . . . . 33

misterioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

musical toys (Musikal isches spielzeug) . . . . . . . . . . . . . . . . . . . . . . . 38

music for flute, str ings and percussion . . . . . . . . . . . . . . . . . . . . . . . . 18

music for Harpsichord and percussion instrumentsfrom mark pekarsky’s collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

musikal isches spielzeug (Musical toys) . . . . . . . . . . . . . . . . . . . . . . . 38

nach motiven aus der tatarischen folklore (on tatar Folk themes) . . 42

nacht in memphis (night in Memphis) . . . . . . . . . . . . . . . . . . . . . . . . . 11

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night in memphis (nacht in Memphis) . . . . . . . . . . . . . . . . . . . . . . . . . 11

now always snow ( Je tzt immer schnee) . . . . . . . . . . . . . . . . . . . . . . . . 59

offertorium. concerto for viol in and orchestra no. 1 . . . . . . . . . . . . . 15

o komm, Heil iger Geist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

on Love and Hatred (Über liebe und hass) . . . . . . . . . . . . . . . . . . . . 27

on tatar folk themes (nach Motiven aus der tatar ischen Folklore) . . 42

on the edge of abyss (am rande des abgrunds) . . . . . . . . . . . . . . . . . 33

pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

passion and resurrection of jesus christ according to st . john(passion und auferstehung Jesu chris t i nach Johannes) . . . . . . . . . . . 21

passion und auferstehung jesu christ i nach johannes(passion and resurrect ion of Jesus chris t according to st . John) . . . . 21

pentimento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

perception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

percussio di pekarski (hour of the soul [stunde der seele] ) . . . . . . . . 14

phacelia (Die phazel ie) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

piano Quintet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

pilgrims (Die pi lger) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

pro et contra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

punkte, Linien und zickzack (Dots, lines and Zigzag) . . . . . . . . . . . . 41

Quartet for four flutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

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Quasi Hoquetus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Quaternion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Quattro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

ravvedimento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

reflections on the theme b-a-c-H . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

der reiter auf dem weißen pferd (the rider on the White horse) . . . 23

rejoice! (Freue dich!). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

repentance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

revue music for symphony orchestra and jazz band . . . . . . . . . . . . . 14

the rider on the white Horse (Der rei ter auf dem weißen pferd) . . . 23

risonanza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

ritorno perpetuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

roses (rosen) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

rubayat (rubaijat ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

rumore e s i lenzio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

der sei l tänzer (Dancer on a tightrope) . . . . . . . . . . . . . . . . . . . . . . . 50

serenade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

seven words (s ieben Worte) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

sieben worte (seven Words) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

si lenzio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

simple prayer (e infaches gebet. Messa bassa) . . . . . . . . . . . . . . . . . . 35

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so be it (so sei es) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

sonata for double bass and piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

sonatina for flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

sonata for piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

sonata for two percussionists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

song without words (l ied ohne Worte) . . . . . . . . . . . . . . . . . . . . . . . 42

sonnengesang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

so sei es (so be i t ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

sotto voce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

sounds of the forest (klänge des Waldes) . . . . . . . . . . . . . . . . . . . . . 43

steps (s tufen) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

stimmen . . . verstummen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

st. john passion ( Johannes-passion) . . . . . . . . . . . . . . . . . . . . . . . . . . 21

st. john easter ( Johannes-ostern) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

string Quartet no. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39




string trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

stufen (s teps) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

stunde der seele (hour of the soul) . . . . . . . . . . . . . . . . . . . . . . . . 13, 14

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tatar dance (tatar ischer tanz) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

te salutant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

ten preludes (etudes ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

toccata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

toccata – troncata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

transformation (verwandlung) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

trio for three trumpets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

triple concerto (tr ipelkonzert ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

two ballads (Zwei bal laden) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

two paths (dedicated to maria and martha )(Zwei Wege [Maria und Martha gewidmet] ) . . . . . . . . . . . . . . . . . . . . 20

two pieces for Horn and piano (Zwei stücke für horn und klavier ) . 44

two songs on German folk poetry(Zwei lieder nach deutschen volksdichtungen) . . . . . . . . . . . . . . . . . 58

über Liebe und Hass (on love and hatred) . . . . . . . . . . . . . . . . . . . . 27

und: das fest ist in vol lem Gang(and: the Fest ivi t ies at their height) . . . . . . . . . . . . . . . . . . . . . . . . . 17

under the sign of scorpio ( im Zeichen des skorpions) . . . . . . . . . . . 24

verwandlung (transformation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

vivente – non vivente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

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ein walzerspaß nach johann strauß(Wit ty Waltzing in the style of Johann strauss) . . . . . . . . . . . . . . . . 48, 57

warum? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

witty waltzing in the style of johann strauss(e in Walzerspaß nach Johann strauss) . . . . . . . . . . . . . . . . . . . . . . 48, 57

the wrath of God (Der Zorn gottes) . . . . . . . . . . . . . . . . . . . . . . . . . 28

zeitgestalten (F igures of time) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

zwei bal laden (two ballads) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

zwei Lieder nach deutschen volksdichtungen(two songs on german Folk poetry) . . . . . . . . . . . . . . . . . . . . . . . . . . 58

zwei stücke für Horn und Klavier (two pieces for horn and piano) . 44

zwei wege (maria und martha gewidmet )(two paths [Dedicated to Maria and Martha]) . . . . . . . . . . . . . . . . . . . 20

der zorn Gottes (the Wrath of god) . . . . . . . . . . . . . . . . . . . . . . . . . 28

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s o f i a g u b a i d u l i n a - Sikorski

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